November 8th, 2013
Dear Figment community:
After five and a half years, it’s time for a change. Figment the game is going to be shutting down. Sad? A bit, but exciting at the same time, because with every ending a new beginning presents itself. Over the past five and half years we’ve all contributed to building a community of people who connected over a common love of music and the art that conveys that music. It’s a community that we’re very proud to have helped create and one that we believe is worth preserving.
Our community is a small one, but an incredibly devoted one. A place where we’ve seen friendships grow and a sense of community in the truest sense develop. Our community is one that supports musical expression through design, and is one that is not only an outlet for but an extension of our love for music.
We’d like to take that idea and expand on it. We believe that the core value of Figment is our community’s love of music, both real and imagined. So why not allow you to design artwork – album covers, flyers, billboards, etc. – without being constrained by our current game’s fake environment. Why not also allow you to share the music that inspired your designs – whether they’re fake or real. To do this we’ll be creating a site that’s not a game per se, although it will include some aspects of gamification, but rather a place where you can share your real and fake designs, and talk about them with other members of the community we’ve all created.
Do you know of a local band that you’d love others to hear?
Create some artwork for them and post it or share their music with the community and challenge them to create artwork for it.
Do you love a new song by your favorite artist?
Why not create a piece of art that expresses that – an album cover, a flyer, anything.
Have an idea for a band that doesn’t exist and want to see if others like it?
Create a fake band just like you’ve done in the past and share it with the community. Who knows, maybe we can even get some of the more musical members of our community to bring that fake band to life.
And that leads us to the question – why are we shutting down Figment? Well, quite simply, because it’s become more of a deterrent to our growth as a community than a help. When we launched Figment in 2008 social gaming was in its infancy and there certainly weren’t any games sites out there trying to tackle what we at Figment set out to do. As a result, we had to build our own infrastructure, create our own community and do it all on a shoestring budget. We accomplished all of those things albeit with some fits and starts, but unfortunately the costs were so high that it left little to further develop the game in a way that would make it more self-sustaining. As our costs have eaten into our funding our ability to attract and keep new players has shrunk, and so the game itself has become an obstacle to the growth of the community. And it’s the community that we believe is Figment’s legacy, something we can build on as a group and in doing create something new that furthers our collective love of music and design.
So while the game as you’ve known is ending, we hope you’ll embrace our enthusiasm for this new beginning and help us to create a better site for music inspired design. For those of you wondering what will happen to your “figments”, please don’t worry they AREN’T going to disappear from the web. In early December we’ll be taking the game site down and transitioning it’s vast library of bands to a read-only site. This may take a month or so, but rest assured that you’re “figments” will live on.
So when will the new community launch? Well that’s still being determined, but hopefully as soon as possible. We’d like you to be involved in the process, so we’ll keep you posted and invite you to join as soon as we can. We hope you’ll continue to play in our sandbox!
Thanks for being such loyal and incredibly creative members of the Figment community. We appreciate each and every one of you.
Eric and Larry
October 21st, 2013
Cover-sation is a new feature here on Figment News where we’ll post an album cover from Figment and ask you what you think of it. Good, bad, indifferent? What do you like about the cover’s design? What don’t you like? How might you have approached the same cover? In short, we’ll have a conversation about an album cover design…a Cover-sation if you will.
J.T. Florence, aka Wun, is one-man band in the truest sense of the word, and “Recyclone” while a joint effort with his late brother Matthias was truly a D.I.Y. release. Released on the opening day of Wun’s epic World Tour with bigPEBBLE, this bootleg recording was sold only as a 45 RPM Vinyl record at the band’s merch booth. With it’s limited release it’s already a collector’s item, but it’s striking and original cover is in our opinion yet another reason to covet a copy. What do you think?
October 11th, 2013
Full disclosure, I didn’t know much about Richard Hell before I began reading this book. Sure I’d listened to Television and blasted his punk athem “Blank Generation” on occasion, but I didn’t really know much about him. I’ve always enjoyed punk rock, if only for it’s visceral power, but I’ve often dismissed the reverence for its main players as mere hagiography. “I Dreamed I Was A Clean Tramp” (Ecco Books, 2013) may well prove to be the reason I changed my mind.
Forgetting for a moment his musical accomplishments, which include founding early punk pioneers Television with Tom Verlaine, playing with Johnny Thunders in The Heartbreakers and going on to found his own groundbreaking group in Richard Hell and the Voidoids; Hell has written a book that is not only startlingly honest, but an analytical look at punk rock as an art form.
From the opening pages of “I Dreamed I Was A Very Clean Tramp” it’s clear that Richard Meyers (he later changed his name to Hell) exhibited an independent streak almost from the minute he was born, and his early years growing up in Kentucky were clearly effected by the death of his father, and an almost insatiable need to run away from his prosaic childhood.
He succeeded in 1966, when at the age of 17 he boarded a bus bound for New York City with dreams of becoming a poet. Thus began a 10 year period as a struggling writer, complete with a procession of jobs working in book stores, living in horrible apartments, doing drugs, and eating very little. What’s clear though is that while Hell doesn’t extol those early years, he does understand their importance.
In many ways, “I Dreamed I Was A Very Clean Tramp” is a guided tour of Greenwich Village and the Lower East Side of Manhattan from the end of the 60′s to the late 70′s. Hell is almost Zelig-like in his proximity to everything from the late 60′s pop art movement to the early stirrings of the punk movement in bands like the New York Dolls, largely because of the myriad of girlfriends he had relationships with during this time. Women clearly play a major role in Hell’s life and his ascension to punk rock stardom, and although he archives his sexual conquests in Wilt Chamberlain-esque detail, it’s clear he considers all of them to have played a part in making him who he is.
Hell’s writing in “I Dreamed…” is equal parts frustrating and illuminating. His narrative structure is a bit haphazard, but it’s his analytical approach to the importance of punk and his place in it that is really interesting, because he doesn’t engage in personal myth-making but is instead brutally honest about his successes, failures, and their subsequent effect on his life as a musician and writer. While clearly an irascible character, Hell’s street-smart intelligence shines through and makes his book more than just another sex, drugs, and rock ‘n roll screed. Sure he touches on all of those subjects, but a navel-gazing exercise this is not, instead it’s a thoughtful examination of how all of those things played a part in making him who he is.
What’s really illuminating however, is Hell’s writing about the music itself, about why punk’s lack of professionalism is both a blessing…
“I love a racket. I love it when it seems like a group is slipping in and out of phase, when something lags and then slides into a pocket, like hitting the number on a roulette wheel, a clatter, like the sound of the Johnny Burnette trio, like galloping horses’ hooves. It’s like a baby learning how to walk, or a little bird just barely avoiding a crash to the dirt, or two kids losing their virginity. It’s awkward but it’s riveting, and uplifting and funny. In a way it’s the aural representation of that feeling that makes the first time people feel the possibilities of rock and roll music in themselves the benchmark of hope and freedom and euphoria.”
“I knew nothing about singing except that it was about emotion, and I had some instincts about the way to convey emotion rhythmically and in tones. For me, singing was like throwing something as hard as I could to stop a threat in it’s tracks, or stating something beyond a doubt to reassure someone whose confidence I needed, as if everything depended on it. I was aware that position and timing mattered, but I relied on instinct and subconsciously absorbed experience to achieve them. And the power came not from volume, in decibels, but from emotion, in revelation. I had to be accurate not in pitch, but in emotional import, of which pitch was a subcategory. There was something mystical about it or at least irrational about the process. I had to trust that I could do it even though it required so much release. It was like being in an extended firefight, a fierce exchange in which life was threatened but that slowed time so it was possible to take care. I depended on the band to keep me on my feet and to compensate for my weaknesses.”
and a curse,
“For nearly the entire time I was a professional musician, I chose ignorance. I depended on instinct and attitude rather than technical knowledge. I regarded myself as a force of nature and an entity worthy of sustained attention. I wrote and sang the songs and projected them via my physical self, and played bass, and it was the band’s purpose to follow my lead in providing an appropriate setting and accompaniment. They were there to help construct the space consistent with me, a musical atmosphere I could breathe, in which I could act and carry out my intention. That action took place in the medium of music but it was actually something else, a kind of aliveness. I could hear its incarnation in music, but it was the aliveness that was the purpose of the rock and roll. I know more than this now and I know how the record suffered for that approach of mine, but at the same time, it couldn’t have been otherwise, so fuck it. It made for some great moments.”
So while he played or partied with a who’s who of the NY and London punk scenes, Hell clearly loved the music and his insights on the role each of the major punk rock icons played in making it an artistic movement is revelatory. Whether he’s speaking about Johnny Thunders charisma or Dee Dee Ramone’s “cute dizzy-dumb persona”, he tries to lock-in on what made them special, but without the mythology ever present in most discussions of the punk scene,
“In rock and roll, in show business, there’s not much value placed on integrity. People say and do what serves their interests and what seems entertaining. That’s just as well, if for no other reason than it’s inevitable. Ultimately, what difference does it make what actually happened? Things look different from different perspectives, and the conquerors write history; and what reality do the stories of the past have except as entertainment and mythology? Obviously, “reality” is slippery anyway. ”Print the legend,” as advised in The Man Who Shot Liberty Valance.
Still to me it’s interesting to try to figure out what’s actually going on, what really happened. I want to get the most accurate idea I can of the way things are. To me, that’s a lot of what “art” is about. Of course, I have my vested interests too: even disregarding any pride involved, my earning power depends largely on my reputation and my role in past events, so I might try to straighten the record where I regard it as misrepresenting me. But I try to be as faithful to what happened as I can, however what happened might reflect on me. I want that to be part of my reputation too.”
For me, “I Dreamed I Was A Very Clean Tramp” not only brought Richard Hell more into focus, it did the same for punk rock, and for that I’ll always be appreciative.
September 25th, 2013
We have a lot of talented players on Figment who are just as talented outside of it. formerwageslave is one such player. He runs his own label, plays in several bands, is a club DJ, and hosts his own radio show on WMPG.
Clearly formerwageslave’s plate is full right? Not quite. Last winter he participated in Portland, MEs “48 Hour Music Festival” where 30 local musicians were randomly grouped together into “bands.” These “bands” were given 48 hours to write a 25-minute set of material and then asked to perform the original songs they’d written live at a local venue.
formerwageslave’s band “The Body In The Kelp” recorded the four songs they wrote for the Festival and have just made them available via Bandcamp as a “Name Your Price” download or via CD for $7. As formerwageslave pointed out, “the songs have a stoner/doom/blues vibe… not heavy or psych enough to be Vorpal Queen, but there’s a little bit of that group hiding inside these songs…”
So support a fellow Figment player by downloading this incredible album – you can give it a listen here:
September 18th, 2013
“Bands I Wish I’d Made Up” is a Figment News feature where I’ll highlight a real band that I wish I’d made up. You know, as a fake band. Make sense? No? That’s half the point. Stop thinking and start rockin’!
Jason Isbell is an artist I’ve followed for some time, first as a member of the Southern Rock band the Drive-By Truckers and in the last few years as a solo artist and leader of Jason Isbell and the 440 Unit. He’s a troubadour in the truest sense of the word, wrapping roots rock music around lyrics that touch on the human condition with an intelligence and street smart Southern wit that belie his age. He’s a storyteller and damn good one at that. I submit this recent performance of his song “Elephant” on Sirius XM’s “Outlaw Country” as proof positive.
September 11th, 2013
When we launched our Rock ‘N’ Roll Billboard contest earlier this year we knew that it would strike a chord with our players because the grand prize included the ability to spotlight the winner’s band on the Figment home page in grand fashion. At the time we promised to open the billboard up to all players in due course, and we’re happy to say that time is now!
Did your band or album get pushed out of the “New Stuff” chart by other releases before it charted? Want to build anticipation with your fan base for an upcoming release by one of your established bands? Need to get more fans out to your latest tour?
Whether you want to hype a new band, promote your latest album release or draw fans to a concert tour the Figment Billboard offers you the prime real estate to do it! To find out more, check out the new “Billboard” page here on Figment News.
September 6th, 2013
If you remember, Figment Challenge #4 was to create a self-titled album for either a new or existing fake band of your creation. The self-titled albums would be judged on their cover design, album description and song titles, with the real test being whether the album you created best represented the band you created. We were thrilled with the quality of the entries we received, and believe me it wasn’t an easy vote, but vote we did and here are the results!
Winning Self-Titled EP!
Design by humanblooper
Pragmatica’s self-titled EP is the epitome of duplicity. By employing a three part song structure, told in a continuing narrative, “Pragmatica” delves into mythical territory with their boldest release to date.
Recorded under the title, “Pragmatica: Ardens Apotheca”, the name was shortened during the mixing process at the behest of lead singer, Jed Lincoln. The first two tracks (chapters) are Latin in origin. “Omnia”, meaning, “Everything Is…”, opens with a lean & mean bass line from Xander Cook. “Ardens Apotheca”(“The Burning Store”), is a piano ballad that gives way to blistering guitar work from the mystifying, Scott Abbott.
The third and final segment of this musical saga carries the band’s name, “Pragmatica”. Spanning over seven minutes, the title track is worthy of its name. A chameleon of bounding rhythms and melodious lyrics, “Pragmatica” surges from one chorus to the next, combining what sounds like several songs into one. It’s the ultimate mash-up for any Pragmatica fan, and a track that won’t soon be forgotten.
When the EP is played from beginning to end, a sonic kaleidoscope is unfolded, and by the final note, the world becomes a more magical place, if only for a little while.
1. Omnia (3:48)
2. Ardens Apotheca (5:31)
3. Pragmatica (7:20)
Editor’s Note: We selected Pragmatica’s self-titled EP, because it really was a complete statement about the band. From the cover art to the concept behind the EP and even the songs, you really get a feel for the band, and better yet it’s an album we’d all buy in a heartbeat. So well done humanblooper, you met the challenge and now you get to reap the rewards. We’ll be depositing 5,000 pieces of Lucre in your account post haste!
1st Runner Up
Design by Tyman
Summer’s Passing has done a lot in their career so far. They became the first melodic deathcore band, and they became one of the most popular modern Norwegian bands (though they’re not black metal). But this time around, it was time to experiment. They’ve already done a metalcore album, so… why not a straight up, brutal deathcore album? They went back to their heavier roots, and decided to go from there. The result: a self-titled album like no other. Featuring new songs such as “Human to Lamb (Daily Sacrifice),” “Ritual,” and “Run While You Still Can.” This album is especially for death metal fans, and is a treat for deathcore fans.
1. Scared Yet?
3. The Flames Burn On
4. So I Hear You Like Horror Movies…
5. Sleep Forever, Die Temporarily
6. Human to Lamb (Daily Sacrifice)
7. Houston, We Have an Apocalypse
8. Run While You Still Can
9. Laser Dogs (WTF Is This I Don’t Even)
10. The Terror Never Ends
11. Deadly Thoughts
Editor’s Note: We selected Summer’s Passing’s self-titled album because the band chose this album to experiment, a risky proposition to say the least, but one that they passed with flying colors in our opinion. From the brutal cover art to the equally brutal song titles, this is a band that’s not afraid to show it’s audience a new dimension of it’s sound and we believe it would not only sell well, but would likely expand this band’s fan base. So congrats Tyman, for taking Summer’s Passing to the next level you’ll be rewarded with 3,000 pieces of Lucre!
2nd Runner Up
“Chad Phantom and the Nobody Panic”
Design by Raybo
Some people might wonder why a piping-hot band from across the pond, on the eve of launching their sophomore album, would decide to take acid during a live television broadcast. But that’s exactly what they did.
A Late Night legend was literally left speechless by the band’s destructive hijinx, and by the time they had finished their set (and thrashed a pop culture cathedral), the fire department and police were called.
Things went from bad to worse. Fast. Chad Phantom and his cohorts were arrested, but the charges were dropped by the network the following day.
Strangely, at an afternoon press release, Phantom acted as if the whole thing never happened. He continued pushing the new album, never missing a beat.
“We wanted to call the first album, CHAD PHANTOM AND THE NOBODY PANIC,” Chad recalls. “When it came time to press the covers, we took a band vote, spurned on by some label bullshit, and ultimately made the change. It was the right call, but for the second one, we always knew what we were gonna call it.”
When asked about his drug-fueled debacle the previous evening (and the world wide internet explosion that followed), Mr. Phantom shook his head and, without a hint of irony, replied:
“Some things are without rhyme or reason. This was one of those things.”
TRACK LISTING —
Torch and a Pitchfork
Can of Hash
An Inch of His Life
The Mark Street Prison Quartet
To see more releases from Pragmatica click here.
To see more releases from Summer’s Passing click here.
To see more releasese from Chad Phantom and the Nobody Panic click here.
September 2nd, 2013
Road Stories is a new feature here on Figment News where Figment bands tell us their tales from the wide open road. So get your motor runnin’!
Judging Alice and Mary’s War just recently returned from the road where they were both on the bill of the No Turning Back Tour, and knowing both bands we figured they’d have their fair share of “Road Stories.” So we asked them to wax poetic about their latest stint on the road, and they obliged. No turning back now boys!
Hello all! Daryl Pi here from Judging Alice. So, the band’s manager, Monte, approached me saying “so this website called Figment wants to hear one or more crazy tour stories.” At first I was a little confused, considering how we haven’t been around for that long, but I was still stoked nonetheless, and a lot of weird stuff has happened on this tour. The only flaw is we’re about to do a show, and all the other guys are warming up (and for all we know Niko is probably playing with himself; we haven’t seen him for 30 minutes), so I just figured I’d do it. Let’s get this show on the road, shall we? No pun intended…
So lets go back in time a little bit: The Unsilencing Begins World Tour, which was with Summer’s Passing, Empty Spaces, Sinthetic, SIX-66, and Cadem. This is one of my personal favorite tours, and the fact that it was worldwide made it all the better. But we didn’t know what to expect with Summer’s Passing. We knew they were crazy dudes, but we didn’t know what they were capable of, which was terrifying cause we shared a bus with them and the other bands. We had just gotten done with the Albany, NY show on the 18th of January, and next was Hartford, CT on the 20th. Around midnight, I was awaken by the words “These gray shadows make the world turn green, yet green is not a creative color!” I was wondering “what in the hell was that?” But it wasn’t over. A few of the other lines I heard was “the sun was pink as my dog turned yellow,” and “Harry Potter made the world explode secretly!” I immediately knew it was one of the guys from Summer’s Passing, because I heard a Norwegian accent. I got out of my bunk, and walked into the kitchen. SP frontman Haakon Johansen was butt ass naked, screaming what I assumed to be a form of abstract poetry, while Empty Spaces singer/rhythm guitarist Brady Knowles was staring, mortified. I asked Brady softly “dude… what the fuck is his problem?” His response was “…he may or may not be drunk, I have no clue.” Now the both of us were staring at him screaming at his dick, when all of a sudden he looked up, threw jalapeno peppers at us and proceeded to yell at us in Norwegian. Then he stopped talking and fell over. He passed out. We immediately checked to see if he was still alive. He was ok. But I had started asking many questions: “Did he have a rough night?” “Does he usually do this?” “How are other people still sleeping?” “Did they prepare for this?” Whatever it was I’ll never know.
Lets fast forward to the present. As many of you know, we’ve been on the No Turning Back Tour (which has just confirmed there will be more US dates in the fall), along with bands such as Mary’s War, Deathbed Confederates, Daisy May, and more. It’s been awesome! But lets see. Crazy stories… hmmm… oh I know! So Micheal Dexter of Angel of Death and I were hanging out on the streets of Baltimore, and all of a sudden this guy came up to us. He was wearing all black, and it looked like he had a gun. He said in a tough guy voice “give me all of your wallets! Oh wait… are you the singer of Angel of Death?” Micheal was absolutely terrified, but he managed to spit out the word “yes.” The robber began to profess his love for Angel of Death, and how they have gotten him through “all of the tough times.” Michael, still terrified, said “thank you very much. Means a lot.” Long story short, we didn’t get robbed, but the robber did get Micheal’s autograph and left us alone.
But that’s what life on the road with Judging Alice has been like so far. Thanks for reading, and we’ll see you all on the road soon.
Hey! My name is Jon Jefferson, I play bass for the prog-screamo group Mary’s War, and I’m here to tell you all some tour stories. As many of you know, the guys and I have been touring for a while. We got done with the Tour of Destruction back in April, and we spent the summer on the No Turning Back Tour, with bands such as Judging Alice, Murder13, Sex Metal, and more! And since we’ve been around for 2 years, we have quite the stories for you.
So for those who aren’t aware, the Tour of Destruction was a year-long tour, going around the entire world (even to some of the small towns for acoustic shows), and though it was exhausting, it was the dream of a lifetime. And the best part was, we were all there for each other. I remember Riki Milligan’s dad passed away when the tour first started, and it was like a small community coming together. It was kind of beautiful. But of course, things got a little weird half way through the tour. I recall when Brady (Knowles, singer of Mary’s War), Greg (Hert, guitarist of Mary’s War), Ken (Jullen, ex-drummer of Mary’s War) and I were doing a meet and greet, when all of a sudden, some hot girl came up to me and said in the manliest voice “I want you to tattoo your signature on my dick,” and I was so weirded out, I called security. But the weirdness doesn’t stop there. After the show was over, the guys and I got back on the bus to grab some snacks and some beer, when we found that same shemale, naked in our bus. Greg fainted, Ken vomited, and Brady and I laughed our asses off before throwing he/she out. No offense to the shemales out there, we definitely honor and respect the people different from us, but this case was just… awkward. Everyone on the tour picked on us for that story ever since, but it was all in good fun.
And the fun/awkward/terrifying stories don’t stop there. On the same tour, during an acoustic show, a Jehovah’s Witness stood up in the crowd, and started screaming “Jesus can save you” and all this other religious stuff. Now, as someone who is Christian, I have already let Jesus in my life, so I didn’t want to hear this crap. Brady stopped us playing, stood up, and walked to the guy to say “I understand where you’re coming from, but dude… shut up. It’s a rock show, not a sermon.” He then proceeded to throw mini bibles at us and the crowd, before security took him away. I guess there’s a first for everything.
And so far on the No Turning Back Tour, the only thing that’s happened to us personally was getting chased down by fans in Worcester, MA. It was a sold out show, and we were there early, and we got bombarded. It was cool, but it was also kind of scary.
But anyways, that’s it for me. Thanks for reading!
Check out Judging Alice’s latest release “Laserz!!” – EP”
Check out Mary’s War’s latest release “Tell No Soul”
August 15th, 2013
Self-titled or eponymous albums abound in the rock and pop worlds. Whether it’s a debut artist trying to establish their name or an established artist making a statement, releasing a self-titled record is an attention grabber because it’s a defining record and is usually only done once in an artist’s career, unless you’re Peter Gabriel. As a result, it comes with a corresponding risk – if the album is good it burnishes your band’s name and cred, but if it’s bad it can become the record that signifies your downfall. Monkey Goggles did a great post on the subject a few years back.
Pressure? You bet. That’s why it’s the perfect Figment Challenge. So for Challenge #4 we’d like you to create a self-titled album for one of your Figments. It can be the debut release from a new band or one by an existing band you’ve created. We’ll be judging the albums on cover design, album description and song titles. Please do not release the album on Figment. Simply submit the album cover design, description and song titles to customerservice at figment.cc or use the “Feedback” link at the bottom of any page on Figment. All entries must be received by Friday, August 30th, 2013 at 12 pm ET to qualify.
Please note that NO self-titled albums previously released on Figment will be eligible, and any self-titled albums released on Figment between August 15, 2013 and September 6, 2013 WILL NOT be considered eligible entries in this challenge.
The top 3 designs will be posted on the Figment News blog on Friday, September 6th, 2013. The winner of the challenge will receive 5,000 pieces of Lucre, while the runners up will receive 3,000 for second place and 1,500 for third place.
So good luck, and remember if you’re going to put your name on it, it better be good!
August 6th, 2013
There are a lot of fake bands on Figment, but a lot of them have been abandoned by players who either got tired of developing them or simply popped in to try their hands at creating a band and lost interest soon after. Regardless, there are some hidden treasures buried among these bands, and we aim to cast a spotlight on them and their creators in “Lost and Found”.
ksoard is the focus of this installment of “Lost and Found.” She hasn’t been on the site in almost four and a half years, and yet the two bands she created could just as easily be found on the charts now as they were then. Better yet, both bands couldn’t be more different stylistically. Vestige is clearly an alternative rock band with dark overtones while Felt Tip Marker evoke a clear indie pop/rock feel.
With little or no band description ksoard is able to provide her bands with a clear identity purely through her use of appropriate images and font choices. Take Vestige’s “Of Flesh and Blood” for instance, one look and you know this is a band whose sound is heavy and certainly not mainstream fare. Could the font choice be a bit better? Maybe, but even the font gives it a alternative indie feel in my opinion, and when you combine it with the cover image you don’t need visuals of gore to feel the doom that lies within.
Felt Tip Marker on the other hand, give off a much lighter, fun, indie pop sensibility. Again, the band description is minimal to say the least, but the band’s album covers, album and song titles (“This Song is NOT About You, Maybe”), and even its name give you a clear picture of what the band is all about.
Judging from these two bands and her Figment album collection, I can only surmise that ksoard’s taste in music runs the gamut, and because of that it’s a shame she didn’t continue to play our game. I can only imagine what other types of bands she might have formed and how much her album cover designs, etc. would have progressed.
Regardless, we can get a pretty clear picture of her musical tastes in these two bands, and that’s why I for one still remember them. Hopefully, you’ll take the time to acquaint or reacquaint yourself with them as well.